Cybernetics IS with us now In the form of artificial limbs and organ supplements, and also the implantation of bio-compatible computer chips and stem-cell research. So how will our species adapt to change – will the future of the human race ultimately be a fusion of microchips and living cells?

In this tutorial you’ll discover how to incorporate mundane, everyday objects into a cyborg creation. Combining household objects with 3D renders is a technique that can have interesting results. This will also give you an opportunity to get to grips with the Pen tool, the Dodge and Burn tools and blending modes, as well as the Transform and Warp functions to make it even more realistic. Be inspired and shoot some of your own material and see what you come up with! Or you can follow allow with the bits and pieces we used by downloading the zip file below.

Step 1

Make a start by opening the ‘Cyborg_render.png’ ( this was created using poser )  from the tutorial files and create a new layer. Using the Smudge tool, with the Sample All Layers option selected, smooth out any rough areas using a medium, soft-edged brush with Opacity at 10%. When you’re happy, hit Cmd/Cntl+E to merge the layer.

Step 2

Darken the nostril areas by drawing closed paths with the Pen tool. Make a path-based selection and feather it by 1 pixel, On a new layer set to Multiply, use a medium, soft-edged brush, and with a low opacity, paint within the selection. Adjust the layer Opacity slider to suit and merge the layer again.

Step 3

Add more contrast by duplicating the background layer and setting the blending mode to Soft Light Next, increase the amount of Cyan by adding a Color Balance adjustment layer using the drop-down Create New Fill or Adjustment Layer icon at the foot of the Layers palette. Set the Red to ·24 in the Midtones and merge the layer

Step 4

To add some human features, open the ‘ Skin_render.png ‘ file and Shift-drag into your working document as a new layer, setting the blending mode to Hard Light Hit Cmd/Ctrl+U to access the Lasso tool and, ensuring the Add to Selection option is selected, roughly select the eyes and lips. Hit Cmd/Ctrl+Shif I to inverse the selection and hit Delete.

Step 5

Add a layer mask and use a soft-edged brush to blend the remaining skin. Vary the brush opacity as you work, leaving the eyes, eyebrows and lip areas. Next, add a Hue/Saturation adjustment layer while holding Alt and check the Use Previous Layer to Create Clipping Mask option. In the Edit drop-down list set all the colors to -100 Saturation except the Cyan.

Photoshop has long been regarded as the tool of choice for 2D editing, but with Photoshop (the extended editions) you can incorporate 3D content. We’ll start off using DAZ Studio to import and export a complex 3D city model. Next we’ll show you how 3D content can coexist within 2D composites: you can roll, rotate and slide objects in 3D space, as well as having the flexibility of modifying their textures in reel-time. We’ll then build up the 2D background elements of the scene and add some extra details, such as atmospheric effects, by using Photoshop’s layers and blending modes.

Step 1

Create an account with DAZ 3D (www.daz3d. com), then download and install DAZ Studio. Download the free Dystopia City Blocks 011-020 (www.daz3d.com/) Ensure you download both the Poser and MAT files, unzip and open their installers. It’s important that you install to ‘Applications>DAZStudio>Content’.

Step 2

Open up a new scene and go to Edit > Preferences and select the Directories tab. Ensure that ‘Program Files>DAZStudio>Content’ appears under the DAZ Studio Content Directory.

If you don’t actually have Poser installed, you will still need to have ‘Program Files>DAZStudio>Content’ included under the Poser Content Directory (which is indicated in red).

Step 3

To make your things easier to find, go to (View> Tabs > Content). Click the triangle icon In the upper-right corner of the tab (indicated in red) and change View Categories Quick Start to View Folders As Tree.

Navigate to the ‘Dystopia 6×6 11-20~ found under Content > Figures > Dystopia > City Blocks. Drag the icon into your workspace. The ‘readme’ file in the Dystopia download folder tells you where to access new content.

Step 4

Apply MAT preset by dragging the ‘DystopiaCB mats 03 NoRaytrace Cloud’ material icon Into the workspace – found under DAZStudio>Dystopla>City Blocks. Now go Export, selecting Universal 3D from the Format menu and Save, accepting the default settings in the next dialog box.

The export process will take a while, so have some patience. You can also export directly to Photos hop using DAZ’s Studio 3D Bridge plug-in, but we found exporting/importing quicker and more reliable on complex models.

Step 5

Launch Photoshop CS3 Extended and create a new landscape document 345 x 297mm with a resolution of 300dpi in RGB mode. Import the model by going Layer>3D Layers > New Layer From 3D File and navigate to your exported city. Importing complex models will take a few minutes.

When the import has finished, you’ll see a 3D layer indicated by a cube icon with its textures as sub-layers. Double-click the City layer to activate 3D mode and the tool bar changes.

Step 6

With the default Edit the 3D Object icon (indicated In red) you can view the tools. ‘A’ returns the object to its original position, ‘8′ rotates it, ‘C rolls it. ‘0′ drags It, ‘E’ slides it ‘F’ scales it ‘G’ lets you can manually enter coordinates, ‘H’ is a pop-out View menu, T deletes the current view, ‘J’ saves the current view, ‘K’ is a pop­ out Lighting and Appearance menu. ‘L’ is a pop-out cross­ section menu, ‘M’ shows animation settings, ‘N’ cancels the transformation and ‘0′ commits the transformation.

Step 7

while still In 3D mode, go to the Light Settings drop-down menu and select Day Lights. Select the Edit the 30 Object icon and use the drop-down menu to enter a Position of X = 3589B, Y = 602.5 and Z = 176.1, then an Orientation of X = 0, Y = 0 and Z =; 90.

Enter a Scale of 2 for the X, Y and Z ranges. You could edit the object using the tools directly In the workspace, but because the model is complex it’s a little sluggish.

Step 8

Toggle to the camera settings and enter a Position of X = -343. Y = -1850 and Z = 8604, then an Orientation of X = -99.91, Y = -1.7 and Z = 120.62. Also ensure the Field of View is set to 57.52 mm lens.

You could use the camera tools directly in the workspace. When you’re done make a note of the settings and hit the tick icon to accept the transformations.

Step 9

Duplicate the ‘City’ layer, activate 3D mode and enter a Position of X = -1211.8, Y = -247_6 and Z = 432,5. This is the same as using the Slide tool to drag the model away from the camera Now set the Z Orientation to 0 to rotate it.

Repeat this on another duplicate layer and pull it away from the camera using different Position and Orientation settings. Both these layers should have the same camera settings as the previous step.

Step 10

Drag the three city layers Into a new group folder, then open ‘Mountains.jpq’ from the downloaded files and drag/ drop as a new layer, stretch to fit the canvas and label it ‘Mountains’. Now clip a Photo Filter adjustment layer, select Deep Yellow and set the Density to 44%.

Next clip a Levels adjustment layer, setting the Black point to 19 and the Midtone to 0.61. Drag this layer into a new group folder beneath the city and label it ‘Background’.

Step 11

Open ‘Planet.jpg’ and use the Elliptical Marquee tool to make a selection around the planet. Expand or Contract the selection and nudge to fit. Feather by 5px and Copy/Paste as a new layer above the Levels adjustment and label it ‘Planet’ Scale to fit and set the blending mode to Hard Light. Now add a layer mask and use a Black-to-Transparent gradient and a large, soft-edged brush to hide the bottom half.

Step 12

Let’s add some cool detail to the sky. Open ‘Clouds1.Jpg’ and drag  as a new layer above the planet. Position it over the horizon, stretch  to fit the canvas width and label it ’sky’. Next set the blending mode to Difference and adjust the Opacity to 35%. With Background now complete its time to refine the city.

Step 13

Revisit your ‘City’ folder and make sure you’re happy with the positioning. Highlight the layers and go to Layer >Rasterize >Layers. As our scene is at dusk, let’s bring it to life by adding some lights.

Select a small, soft-edged brush and use white and warm yellows on afferent layers to build up a subtle effect. Also vary the brush size and Opacity as you work. Adding an outer glow if you feel it needs it.

Step 14

We are going to now add some city smog to the scene, so open up ‘ Clouds2.jpg’ and use the Quick Mask tool. With a large soft edge brush to select some cloud areas.

Copy/Paste the selections into a new Group folder labelled ‘Atmosphere’ at the top of the layers stack. Set their blending modes to Pin Light and position at the bottom of the canvas.

Step 15

Grab cloud3.jpeg and drop it onto a new layer at the top of the stack within the ‘Atmosphere’ group. Now scale to suit and put it at the bottom of your canvas.

Set the blending mode to Hard Light and Opacity to 50%.  Add a layer mask and blend from the top – down using a Linear gradient of black to white. Clip a Hue/Saturation adjustment layer, check the Colorize option with Hue at 42 and Saturation at 18.

Step 16

Add a normal Color Balance adjustment layer above the atmosphere group folder, Set the Midtones to Red +27 and Blue -35, then drop the Opacity to 81%.

Next target the ‘City’ group folder and rotate anti­ clockwise a few degrees and scale up slightly to compensate, Repeat this on the Background folder­ your scene should now look more dynamic

Step 17

Add some volumetric haze to the distant buildings by making a Quick Mask selection from ‘Clouds2.jpg ‘again. Copy and Paste above your previous Quick Mask smog layers within the ‘Atmosphere’ group folder. Scale to fit over the city horizon and drop the Opacity to 45%.

Now generate a selection from your foreground ‘City’ layer, target your new layer and go Layer > Layer Mask > Hide Selection. Next use a large, soft edged brush to refine the mask.

Step 18

Goto the website Turbo Squid and download the ‘SFighter’  (http://www.turbosquid.com/FullPreview/Index.cfm/ID/274642), unzip and save to a convenient location. Now Import the model as a 3D layer. as you did in step 5, and position under the top Color Balance adjustment layer Double-click the texture icon (‘CSfighter_03_CLR’) and it will open as a ‘child’ document.

Now to modify the texture. Add a Color Balance adjustment layer, setting the Midtones sliders to Red – +35 and Blue – 66.  When you’re done, flatten and save. Your modified texture will now automatically update on the model.

Put the spacecraft in a new group folder under the top Color Balance adjustment layer and label it ‘Vehicles; activate 3D mode and use the Drag, Rotate, Roll and Slide tools to position as shown.

Now go to the Light Settings drop-down menu and select the preset that best suits the model- we chose White Lights because it gave a greater contrast When you’re done, hit the tick icon to accept the settings.

Step 20

Duplicate the ‘Spacecraft’ layer a couple of  times, then use the Drag and Slide tools to distance them in the scene. When you’re happy, target all three layers and Rasterize them.

Next use a soft-edged brush to add some engine glows using a pale yellow on a new layer, varying the brush size as you work. Build up the effect by using white on another layer.

Step 21

Use smaller vehicles within the ‘Vehicle’ group folder. We used the ‘Scout ship’ from http://www.users.on.net/~sparky/models.htm.

Although you can use any model you wish. This model lacks texture, but used In the distance looks fine. After rasterizing, merge to one layer and use Photoshop’s Replace Color on the cockpit then clip a Hue/Saturation adjustment layer, dropping the Red and Cyan to -1 00.

Step 22

Target the top Color Balance adjustment layer and hit shift/Ctrl+Alt+E to Stamp Visible (this creates a composite layer from all visible layers), Give the new layer a Gaussian Blur of 2px and drop the Opacity to 80%. Bring the foreground back into focus by adding a layer mask and dragging a Linear gradient from the bottom.

Finally, generate selections from the three foreground spacecraft, ensure White IS set as your Foreground Color, hit delete and you’re done!

Please add to it, change this or mix it up! That’s the idea, learn from these techniques and become a better photoshoper.

In addition, we’ll reveal how to create your very own water splash techniques using only Photoshop, and you’ll learn how to customize brushes that are essential to this effect’s success. You’ll also explore specific blending modes, layer masks, the Photo filter and Adjustments treatment to show you how to integrate imagery and create optimum realism.

As part of this composite, we’ve used a variety of images from Stock Exchange (www.sxc.hu). Once you’re finished this tutorial, we’re certain you’ll really be making creative waves!

Step 1

OK, lets get started. Begin by opening ‘gymnast.jpg’ that you just downloaded then grab the Rectangle Marquee tool. Right-click and select Color Range. Select the highlighted areas of your model with the Color Picker and then set the Fuzziness level to 200 Click OK and select the Channels palette, activating the Save Selection as Channel icon.

Step 2

This will create a new Alpha layer. Press Ctrl-D, and then select a hard-edged white brush and paint in all the detail you wish to keep. Use a black brush to paint out all the detail you don’t want. Utilise the ZOOM function to get in really close and be precise. Once you’re satisfied, Ctrl/Apple-click your Alpha Channel and select your Layers palette.

Step 3

Copy > Paste your model into a new document. Clean up the edges if necessary. Now we need to make our figure’s dry skin seem slick, so start by selecting the Channels palette and duplicating the Blue channel. With this copy layer active, press Ctrl+M, activating the Curves dialog box. Now steepen the curve as above.

Step 4

Select Filter > Blur > Gaussian Blur, setting a 3px Radius. Now select the layers palette, activating the Create New Fill or Adjustment Layer icon, selecting Curves from the options. Centre your curve so that the image becomes much lighter. Then press Ctrl/Apple+l, inverting the layer. Apply Curves Layer, applying extreme shadows this time, before inverting once more.

Step 5

Name the two Curves layers ‘Lights’ and ‘Darks’. The image. seems unaltered, but this will all change. Select a soft-edged white brush, set at 10% Opacity. Now apply this to your Lights layer to bring out highlights – activating your earlier Blue Copy channel will help. Likewise, apply the brush to your Dark layer raise the shadows. Now duplicate your Model layer.

Step 6

With this copy layer active, select Filter>Artistic>Plastic Wrap. Apply Highlight Strength of 4, Detail of 13 and Smoothness of 10 before hitting OK. Now select Plastic Wrap once again and hit OK straight away. Making sure this layer is above your original Model layer and beneath the adjustment layers. Decrease the Opacity to 60% and apply a layer mask, editing away interference in the black areas.

TIP : Let it do the dirty work
If faced with the Extract filter for the first time, you may find it a bit time-consuming and at times stressful. For best results you really must take your time in your application and you’ll reap the benefits. Having said that – there are ways to speed the process. If your water splash is a dense form, then you’ll probably be better off using the Color Range command and using the Highlight option from the Select Sampled Color menu. You can then use masks and some Magic Wand treatment in order to clean up your layer.

Step 7

Now open ‘iStock_000004672782Large. jpg’ and select the Pen Shape tool, drawing around the dolphin.

Ctrl/right-click your Shape layer, selecting Rasterize, then Ctrl/Apple-click the layer and Copy>Paste into your model composition. Use the Edit> Transform functions to relocate this Dolphin layer appropriately, and then apply a layer mask.

Step 8

Ctrl/Apple-click the Model layer thumbnail, making an active selection. Select a soft-edged black brush at 20-30% Opacity and apply to the Dolphin layer, integrating the two forms. Also, mask out your model’s legs. Proceed by opening ‘92471 O_42465913.jpg’ and as before, Cut>Copy>Paste your desired shell into the image, resizing and placing it with the Transform options.

Step 9

Press Ctrl+M, adding the appropriate exposure as before. Now hide your background layer and press Shift+AIt+Ctrl/Apple, creating a new Mermaid layer Open the ‘847822_21856184.jpg’ and Copy>Paste the new layer into this image. Once again use Edit>Transform>Scale to re size your mermaid appropriately, lining it against the horizon.

Step 10

You’ll now have to correct the exposure of your mermaid to integrate her into the rest of the composition, so begin by selecting Gradient Overlay from the New Adjustment Layer options, found at the foot of the Layers palette. Set a black-to-white, Forward to Background gradient with a Linear Burn at 50% Opacity. Set the Angle to 72 degrees.

Step 11 – Lighting Effects

Create a new layer, then press Shift+F5 and activate the Fill options. Set the Contents Use to White and click OK. Place this layer beneath your background layer, naming it ‘White’. Next, apply layer masks to both the background and Mermaid layer, and with a soft-edged 30% Opacity brush, proceed to erase the edges of the mermaid and background that meet the horizon.

Step 12

Now it’s time to make a splash, quite literally. First we lay the groundwork, so proceed to select the Elliptical Marquee tool, hold Shift and drag, creating a good sized circle. With the background layer active, Copy>Paste from this layer, naming it ‘Ripple’. Ctrl/Apple-click this new layer, making an active selection, and then select Filter>Blur> Radial Blur.

TIP : Touch Up

Instead of having to go through the rigmarole of applying numerous adjustment layers to create exposure, consider applying a Neutral-Overlay layer. You can apply it by Shift-clicking the Create a New layer icon at the foot of the Layers palette. Set the layer mode to Overlay and activate the Fill With Overlay Neutral colour (50% grey). You’ll now have a grey layer but no on-screen effect. Selecting a soft-edged, 10% Opacity brush, you can apply exposure. White tone creates highlights, black tone creates shadows. You can touch up skyline, water and skin tone in this way.

Step 13

Apply a Radial Blur Amount of 20, Blur Method of Spin, set at Best Quality. Select a corresponding foreground color from the image with the Color Picker, Background set to White, and go to Filter > Sketch> Bas Relief. Set Detail Amount to 13, Smoothness to 3, then shape into an oval corresponding with the perspective. Set a Pin Light blend mode.

Step 14

Next, apply a layer mask, selecting a soft-edged brush at 20% Opacity, and integrate the layer edges. Create a new layer named ‘Splash’ and select a white Spatter 46px brush. Select the Brush Tip Shape options from the Brushes palette, increasing Spacing to 40%. With only Shape Dynamics set, increase the Size and Angle Jitter to 60%, turning off Pen Pressure.

The more perceptive among you would have noticed that i have changed to Adobe CS4 half way through the tutorial! I must say i love the new version. If you can, grab a copy.

Step 15

Set the Brush Opacity back to 100%, switch your foreground color to white and apply generously with your new brush. Next, activate Lock Transparent Pixels from the Layers palette.

Then select Filter > Render > Clouds followed by Filter> Artistic > Plastic Wrap. Set Highlight Strength to 20, Detail to 1, Smoothness to 15. Now select Filter > Sketch > Chrome.

Step 16

Set Detail Amount to 3, Smoothness to 8. Now select Edit> Transform>Warp and narrow the perspective of the top of this layer, then drag the central point down, creating a form as in the example above. Selecting the Smudge tool from the toolbar. start to knead this watery form, creating irregularity, and then set a Hard Light blend mode.

Step 17

Now apply a layer mask, integrating with your 20% soft-edged brush. Open the ‘596892_21546617.jpg’ and select Filter>Extract. In the Extract dialog, set Extraction Smoothness to between 20-30 and completely paint out the water using the Edge Highlighter tool. Now activate Force Foreground and select the Eyedropper tool.

Step 18

Click inside the object to sample the most relevant splash tone, then click OK and you’ll be left with a perfect sample of water spray. You should be able to Copy-Paste it into your composition, and have a realistic water splash. Open the ‘846939_ 43988387.jpg’ image of a car and do likewise to the splash to the left of the Jeep. Now duplicate this layer several times.

Step 19

You can now use your Transform options to reposition these Splash layers, and once satisfied merge them into one single Big Splash layer, placing it above all others. Again, use a layer mask to tidy up and then select Add Layer Style>Gradient Overlay. Set a Foreground to Transparent gradient, Linear Light mode at 25%. Set the angle to -155 degrees.

Step 20

Open the Gradient Editor options and set a brown tone, 81643B, Location of 40%. Apply a Hard Light mode again at 85% Opacity. Open ‘957011_ 81778595.jpg’, extract and apply all over again as before. Use the Transform options to shape and position up the mermaid’s tail. Duplicate your earlier Ripple layer several times and place these appropriately, creating an authentic splash effect.

Step 21

Select Create New Fill or Adjustment Layer at the foot of the Layers palette, choosing Photo Filter. Set a Warming filter (85) with a 50% Density. Place this new adjustment layer above all others and apply an Overlay blend mode, 35% Opacity. All that’s really left to do now is tweak your effects and add whatever else you see fit – perhaps a reflection – before sitting back and admiring the view!

The complete photo manipulation! ( Click to Enlarge )

Remember it more than likely will not look like mine, and if it doesn’t… GOOD ! its not meant to.I really hope you learnt something, and most of all had some fun.

In this tutorial we will show you ways to adjust and blend multiple stocks together to create a seamless kaleidoscopic base for an artwork. We also cover basic etching ( extraction ) techniques, look at some new layer-masking methods and have a play with different kinds of blur effects. We will also show you a way to create some nifty brush effects and to Finnish off with some adjustment layer fun. Plenty to keep you busy!

Step 1

The first thing we’ll need is a model lucky you, we have provided one ! free stock images are a great way to learn photoshop manipulation and you can find plenty at different websites (such as sxc.hu). This is a good shot in that the model is well lit and very obviously focusing on a point directly above her – a strong beginning that suggests a direction for the rest of the manipulation!

Step 2

This is a very dark shot that makes some edges hard to spot – a trick here is to add a Levels adjustment layer and drag he Midtones sharply towards the shadows.This will blow the highlights up and make etching much much ( did i mention MUCH) easier. Zoom in nice and close on the photograph – around the 400% mark should get you a nice accurate result.

Step 3

Now, pull out your Pen (P) tool and start tracing around the model carefully. The more anchor points you use the better. Once you have completed a perfect trace of the girl, complete your work path by re-clicking on the original anchor point.

Ctrl-click/right-click in the center of your path and hit Make Selection. Ensure the Feather Radius is set to 0 and that the New Selection radio button is checked.

Step 4

Once you’ve made your selection, hit Cmd/Ctrl-J to duplicate to a new layer. Create a new document at A4 resolution and copy the model into it. Name the layer – ‘model’ that will be just fine.

Step 5

Open the canopy image and duplicate it into your main composition. Select the Marquee tool (M) and hold down Shift to drag out a square selection of the left­ hand side, incorporating the tallest tree and a section of the silhouetted lower portion.

Step 6

Hit Cmd/Ctrl-l to bring up the Levels interface. Drag the midtones slider towards the highlights until the shadow area of the piece is perfectly black – around the .062 mark should be perfect. this gives the piece an excellent contrast, excellent contrast importantly, but more importantly will allow us to work other photos in using blending modes to create a richer and more detailed Kaleidoscope.

Step 7

Hit Cmd/Ctrl+U to being up Hue/Saturation panel. Drag the Hue slider left to around the -20% level and the Saturation down to about 15%. Now hit Cmd/Ctrl+B to bring up Color Balance. Drag the Shadows slider slightly towards Blue, Mid tones to Red and the Highlights towards Yellow. Use Hue/Saturation for a second time, moving the Hue -20% again.

Step 8

Use the Lasso tool to make a diagonal, selection across the square and hold Shift to force 45 degrees. You might want to use Photoshop transparent squares to line it up perfectly. Once your selection cuts the square into two triangles, cut and paste to a new layer.

Step 9

To start building the kaleidoscope effect, duplicate the layer and flip it horizontally. Match the 90-degree edges up and merge the two together. Duplicate again, flipping vertically this time. This time, match the middle point edges and Merge Down.

Step 10

Rotate the merged layer by 90 degrees and merge down to complete your first kaleidoscope effect. Now repeat using the other section from the original: square Marquee to get a neat ‘inverted’ feeling. You can feel free to experiment by repeating the kaleidoscope steps using a different original selection if you desire.

Step 11

Duplicate your two kaleidoscopes into your At- document, placing the darker one below the lighter Set tl-e blending mode on the lighter effect to Darken. Create a new layer and drag out a gradient from a bright pink to red – set this blending mode to Multiply. Top all of this off with a Color Balance adjustment layer that pulls the Shadows towards Blue. Throw all these layers Into a group and save.

Step 12

Open up ‘renders.psd’ from downloaded file (please try and use your own illustrations here if desired) Bring in the ‘Main’ layer and apply the kaleidoscope effect to the main part of the illustration. There’s no exact science to this, just use your intuition. Position the result above the background kaleido group.

STEP 13

Pinch the bottom of the shape in using the Distort tool (Edit> Transform>Distort) – we’re trying to break the symmetry up a bit, but it’s important to keep the corners tidy. Once this is done, use the Perspective tool (Edit> Transform>Perspective) to pull the top out to enhance the effect.

STEP 14

Bring the ‘model’ layer back in to play and place her at the top of the Layers palette. Ctrl-click/right click the layer to get her selection and create a new layer. Fill with black and apply a Gaussian Blur of around 50 pixels. Pop the layer below the model and drag straight down to correspond with the light source.

STEP 15

Open up ‘renders.psd’ again and bring in the ‘Double’ layer. Throw it behind the ‘abstract kaleido’ layer and rotate it so that the form disappears out of screen. Duplicate and Flip Horizontal to maintain the symmetry of the piece. Set the layer Opacity to 75%.

Step 16

Duplicate these two layers and flip them vertically. Position the abstract ‘clump’ above the model’s head (below the ‘abstract kaleido’ in the Layers palette). Add a layer mask and drag out a vertical gradient running white to black from top to bottom to hide the tendrils.

Step 17

Create a new square document (300 x 300) = and fill with black. Render a Lens Flare in the precise middle. Reduce Saturation to 0 and crunch the Levels by sliding the Mid tones towards the Highlights as before. Hit Cmd/Ctrl+A to select all, then Crnd/Ctrl+l to invert. Define this as a brush (Edit>Define Brush Preset).

Step 18

Open the Brushes palette and select your newly made brush. In the Shape Dynamics, turn Size Jitter up to 100%, then Scattering up to 1000% on both axes. Create a new layer and brush liberally behind the model, erasing unwanted parts as you go. Less is more, but make sure the effect is present!

Step 19

Now that the basis of the image is complete, it’s time to put the finishing touches in by adding fine details. We’ve made a couple of extra kaleidos from the shapes and positioned them symmetrically. We also etched out the lily images that you downloaded and scattered them around before adding more lighting. This is where the magic happens, so take your time to enjoy the techniques we have discussed.

Tip: Adjustment Layers

We talk about adjustment layers a lot and there’s a very good reason for it; we have never released a finished piece of artwork that didn’t have at least two adjustment layers sitting on top of it to unify the piece’s palette and balance the composition out. Applying specifically to this piece, after we finished balancing all of the layers by hand, we had a play around and found that a couple of small adjustment layers worked wonders.

First we added a Color Balance adjustment layer and moved the Highlights quite significantly (around the 25% mark) towards Yellow and the Mid tones fractionally (around 5%) towards Cyan. Setting the blending mode to lighten completed this effect and really made the image pop a little more, while infusing it with a lovely warm tone.

To balance this, we then added a Channel Mixer layer and upped the contrast in the Blue Channel by 10%. Select the automatic layer mask, drag out a Black to White gradient running diagonally from the top right and you have a subtle effect that further breaks symmetry without creating imbalance. Experimentation is key with adjustment layers­play with their position in the layer hierarchy, play with their opacity, but always make sure they are there.

Click To Enlarge

Note: This idea was taken from  advanced photoshop mag. If your image does not turn out like this one, don’t worry! Every Image you do should look different in fact if it looks 100% the same then you did it wrong ! Experimenting is key ! learn these techniques and apply them to your own style.

Download the rar file below to follow along with the tutorial.

Urban Tiger Tutorial Files

Step 1

Open up ‘wall.jpg’ that you just downloaded. As uninspiring as it looks right now, this photograph is actually going to serve as the basis for our finished image – so take a moment to get familiar with it.

Step 2

Etching is the process of tracing around an element to extract it from its background. In this instance, what we actually want to do is etch the central hole in the wall, and then remove it to create a frame. Bearing this in mind, hit ‘P’ to select the Pen tool and zoom in to 300-400%.

Step 3

Start creating anchor points that trace precisely around the gap in the wall. Experiment with dragging your mouse once you have clicked to get a curved result. If curving around an object results in an anchor that doesn’t allow you to continue etching easily,try Alt-clicking the anchor point to ‘pick up’ the path..

Step 4

Continue tracing around the hole until you reach your original anchor point. Click on it again to complete the path. Bring up the Paths palette and save this path as ‘Path 1′. Now, right-click in the middle of your path and select Convert to Selection. Ensure Feather Radius is set to ‘0′ and click OK.

Step 5

Once you have made this selection, it’s time for you to mask out the hole. Add a layer mask by simply clicking the Add Layer Mask button at the bottom of your Layers palette. This will automatically create a mask based on your selection.

Click To Enlarge

Step 6

Import a forest Import ‘forest.jpg’ that you just downloaded. Duplicate the background layer into your main composition. Now drag it below your masked Wall layer in the Layers palette. It should drop neatly behind the hole and look like a new backdrop.

TIP : Dare to experiment! Make sure you put the techniques discussed here to good use. Don’t just follow the steps and then move on – take a minute to experiment with everything along the way and ensure you have a thorough understanding of each process. These methods are fundamentals that can form the basis of a balanced skill set, but they’ll only end up in your toolbox if you don’t take the time to comprehend them thoroughly.

Step 7

Hit Ctrl-T to bring up the Free Transform dialog. Hold down Shift to constrain proportions, and re size your forest so that it fits snugly into the hole in the wall. Position the Forest layer so that the sky is barely visible and the foliage sits neatly centralized.

Step 8

Let’s make this forest look a little leafier and more lush – press Ctrl+B to bring up the Color Balance dialog. Hit the ‘Shadows’ radial, and tweak towards Blue. Now go to the Midtones and move towards Cyan.

Step 9

Open up the ‘tiger.jpg’ that you just downloaded. Now repeat the etching process, taking care to be as meticulous as possible. Remember, the higher in you zoom, the better quality etch you will end up with.

TIP : Flexibility is the key A tutorial is just a step along the path, never the complete journey, so do feel free to use these techniques on your own photographs.

Step 10

Duplicate the Tiger layer into the main composition. Position it below the etched Wall layer,but above the modified Rain Forest layer. Free Transform the layer so the tiger fits proportionally with the rest of the piece.

Step 11

One of the problems with bringing etched animals into compositions is that they often have a ‘cutout’ feel. To remedy this, bring up the Brushes palette and browse through the presets until you find the Dune Grass brush.

Step 12

The Dune Grass brush actually utilities both your foreground and background colors. Bearing this in mind, use the Eyedropper tool in order to sample two different highlight colors from your tiger’s back. Create a new layer and then brush some fur on!

Step 13

Repeat this process around the entire exterior of the tiger making sure you frequently re sample both colors from his coat. Continue until the ‘cutout’ effect is completely neutralized. Feel free to use as many layers as you require in fact, the more you use the better.

Step 14

Duplicate your layer and hit Ctrl-M to bring up the curves dialog. Bring the shadows down and the highlights slightly up increase the contrast; you want to match up as closely as possible with the Forest and Tiger layers.

Step 15

Because the bottom half of the Wall layer is drastically brighter than the top, we have an imbalance. To fix this, we’ll add a ‘Burn’ layer to create a natural vignette. Use the Eyedropper to select a dark color from the shadows of this photo.

Step 16

Create a new layer and select a large soft brush around 300px in diameter. Set Opacity to 10%and start gently brushing in a vignette at the bottom of the image. Don’t worry about the tonal disparity – we’ll fix this up shortly.

Step 17

Bring up the Paths palette again, and bring up your original Hole path that you etched in the first steps. Now move a the Layers tab. Select your Forest layer, right-click, make a selection and duplicate the selection to a new layer. Position it above the Wall layer.

Step 18

Now apply a mild Gaussian Blur to the layer – this will softly diffuse the light out across the bricks and simulate the outside lighting conditions. Ctrl-click this blurred layer to get its selection. Contract your selection by 10 pixels, Feather by 5 and clear the remainder, to be left with the finished effect.

Step 19

To wrap up, all we need to add is a Color Balance adjustment layer. Add one over the top of all your other layers (Layer>Adjustment Layers> Color Balance). The first thing to do is to drag the shadows towards Red and Yellow 20 Color Balance part two Now drag the Mid tones towards Yellow, and the Highlights towards Red. Take your time to balance these values here. This adjustment layer is the only thing that you really need to unite these elements, so be sure to give it the time and care it needs.

Do this by eye, and trust your instincts!